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        "full": "Let‘s start with that speech. In September 2022, as Taylor Swift accepted Songwriter-Artist of the Decade honors at the Nashville Songwriter Awards, the headline was that Swift had unveiled an admittedly “dorky” system she’d developed for organizing her own songs. Quill Pen, Fountain Pen, Glitter Gel Pen: three categories of lyrics, three imagined tools with which she wrote them, one pretty ingenious way to invite obsessive fans to lovingly obsess all the more.\n\nAnd yet, perhaps the real takeaway was the manner in which she spoke about her craft that night, some 20 years after writing her first song at the age of 12. “I love doing this thing we are fortunate enough to call a job,” she said to a room of her peers. “Writing songs is my life’s work and my hobby and my never-ending thrill. A song can defy logic or time. A good song transports you to your truest feelings and translates those feelings for you. A good song stays with you even when people or feelings don’t.”\n\nOn Midnights, her tenth LP and fourth in as many years—if you don’t count the two she’s just rerecorded and buttressed with dozens of additional tracks—Swift sounds like she’s really enjoying her work, playing with language like kids do with gum, thrilling to the texture of every turn of phrase, the charge in every melody and satisfying rhyme. Alongside longtime collaborator Jack Antonoff, she’s set out here to tell “the stories of 13 sleepless nights scattered throughout [her] life,” as she phrased it in a message to Apple Music subscribers. It’s a concept that naturally calls for a nocturnal palette: slower tempos, hushed atmosphere, negative space like night sky. \n\nThe sound is fully modern (synths you’d want to eat or sleep in, low end that sits comfortably on your chest), while the aesthetic (soft focus, wood paneling, tracklist on the cover) is decidedly mid-century, much like the Mad Men-inspired title of its brooding opener, “Lavender Haze”—a song about finding refuge in the glow of intimacy. “Talk your talk and go viral,” she sings, in reference to the maelstrom of outside interest in her six-year relationship with actor Joe Alwyn. “I just want this love spiral.” (A big shout to Antonoff for those spongy backup vocals, btw.) \n\nIn large part, Midnights is a record of interiors, Swift letting us glimpse the chaos inside her head (“Anti-Hero,” wall-to-wall zingers) and the stillness of her relationship (“Sweet Nothing,” co-written by Alwyn under his William Bowery pseudonym). For “Snow on the Beach,” she teams up with Lana Del Rey—an artist whose instinct for mood and theatrical framing seems to have influenced Swift’s recent catalog—recalling the magic of an impossible night over a backdrop of pizzicato violin, sleigh bells, and dreamy Mellotron, like the earliest hours of Christmas morning. “I’ve never seen someone lit from within,” Swift sings. “Blurring out my periphery.” \n\nBut then there’s “Bejeweled,” a late, 1989-like highlight on which she announces to an unappreciative partner, a few seconds in: “And by the way, I’m going out tonight.” And then out Swift goes, striding through the center of the song like she would the room: “I can still make the whole place shimmer,” she sings, relishing that last word. “And when I meet the band, they ask, ‘Do you have a man?’/I could still say, ‘I don’t remember.’” There are traces of melancholy layered in (see: “sapphire tears on my face”), but the song feels like a triumph, the sort of unabashed, extroverted fun that would have probably seemed out of place in the lockdown indie of 2020’s folklore and evermore. But here, side by side with songs and scenes of such writerly indulgence, it’s right at home—more proof that the terms “singer-songwriter” and “universal pop star” aren’t mutually exclusive ideas. “What’s a girl gonna do?” Swift asks at its climax. “A diamond’s gotta shine.”"
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        "full": "Let‘s start with that speech. In September 2022, as Taylor Swift accepted Songwriter-Artist of the Decade honors at the Nashville Songwriter Awards, the headline was that Swift had unveiled an admittedly “dorky” system she’d developed for organizing her own songs. Quill Pen, Fountain Pen, Glitter Gel Pen: three categories of lyrics, three imagined tools with which she wrote them, one pretty ingenious way to invite obsessive fans to lovingly obsess all the more.\n\nAnd yet, perhaps the real takeaway was the manner in which she spoke about her craft that night, some 20 years after writing her first song at the age of 12. “I love doing this thing we are fortunate enough to call a job,” she said to a room of her peers. “Writing songs is my life’s work and my hobby and my never-ending thrill. A song can defy logic or time. A good song transports you to your truest feelings and translates those feelings for you. A good song stays with you even when people or feelings don’t.”\n\nOn Midnights, her tenth LP and fourth in as many years—if you don’t count the two she’s just rerecorded and buttressed with dozens of additional tracks—Swift sounds like she’s really enjoying her work, playing with language like kids do with gum, thrilling to the texture of every turn of phrase, the charge in every melody and satisfying rhyme. Alongside longtime collaborator Jack Antonoff, she’s set out here to tell “the stories of 13 sleepless nights scattered throughout [her] life,” as she phrased it in a message to Apple Music subscribers. It’s a concept that naturally calls for a nocturnal palette: slower tempos, hushed atmosphere, negative space like night sky. \n\nThe sound is fully modern (synths you’d want to eat or sleep in, low end that sits comfortably on your chest), while the aesthetic (soft focus, wood paneling, tracklist on the cover) is decidedly mid-century, much like the Mad Men-inspired title of its brooding opener, “Lavender Haze”—a song about finding refuge in the glow of intimacy. “Talk your talk and go viral,” she sings, in reference to the maelstrom of outside interest in her six-year relationship with actor Joe Alwyn. “I just want this love spiral.” (A big shout to Antonoff for those spongy backup vocals, btw.) \n\nIn large part, Midnights is a record of interiors, Swift letting us glimpse the chaos inside her head (“Anti-Hero,” wall-to-wall zingers) and the stillness of her relationship (“Sweet Nothing,” co-written by Alwyn under his William Bowery pseudonym). For “Snow on the Beach,” she teams up with Lana Del Rey—an artist whose instinct for mood and theatrical framing seems to have influenced Swift’s recent catalog—recalling the magic of an impossible night over a backdrop of pizzicato violin, sleigh bells, and dreamy Mellotron, like the earliest hours of Christmas morning. “I’ve never seen someone lit from within,” Swift sings. “Blurring out my periphery.” \n\nBut then there’s “Bejeweled,” a late, 1989-like highlight on which she announces to an unappreciative partner, a few seconds in: “And by the way, I’m going out tonight.” And then out Swift goes, striding through the center of the song like she would the room: “I can still make the whole place shimmer,” she sings, relishing that last word. “And when I meet the band, they ask, ‘Do you have a man?’/I could still say, ‘I don’t remember.’” There are traces of melancholy layered in (see: “sapphire tears on my face”), but the song feels like a triumph, the sort of unabashed, extroverted fun that would have probably seemed out of place in the lockdown indie of 2020’s folklore and evermore. But here, side by side with songs and scenes of such writerly indulgence, it’s right at home—more proof that the terms “singer-songwriter” and “universal pop star” aren’t mutually exclusive ideas. “What’s a girl gonna do?” Swift asks at its climax. “A diamond’s gotta shine.”"
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        "full": "Let‘s start with that speech. In September 2022, as Taylor Swift accepted Songwriter-Artist of the Decade honors at the Nashville Songwriter Awards, the headline was that Swift had unveiled an admittedly “dorky” system she’d developed for organizing her own songs. Quill Pen, Fountain Pen, Glitter Gel Pen: three categories of lyrics, three imagined tools with which she wrote them, one pretty ingenious way to invite obsessive fans to lovingly obsess all the more.\n\nAnd yet, perhaps the real takeaway was the manner in which she spoke about her craft that night, some 20 years after writing her first song at the age of 12. “I love doing this thing we are fortunate enough to call a job,” she said to a room of her peers. “Writing songs is my life’s work and my hobby and my never-ending thrill. A song can defy logic or time. A good song transports you to your truest feelings and translates those feelings for you. A good song stays with you even when people or feelings don’t.”\n\nOn Midnights, her tenth LP and fourth in as many years—if you don’t count the two she’s just rerecorded and buttressed with dozens of additional tracks—Swift sounds like she’s really enjoying her work, playing with language like kids do with gum, thrilling to the texture of every turn of phrase, the charge in every melody and satisfying rhyme. Alongside longtime collaborator Jack Antonoff, she’s set out here to tell “the stories of 13 sleepless nights scattered throughout [her] life,” as she phrased it in a message to Apple Music subscribers. It’s a concept that naturally calls for a nocturnal palette: slower tempos, hushed atmosphere, negative space like night sky. \n\nThe sound is fully modern (synths you’d want to eat or sleep in, low end that sits comfortably on your chest), while the aesthetic (soft focus, wood paneling, tracklist on the cover) is decidedly mid-century, much like the Mad Men-inspired title of its brooding opener, “Lavender Haze”—a song about finding refuge in the glow of intimacy. “Talk your talk and go viral,” she sings, in reference to the maelstrom of outside interest in her six-year relationship with actor Joe Alwyn. “I just want this love spiral.” (A big shout to Antonoff for those spongy backup vocals, btw.) \n\nIn large part, Midnights is a record of interiors, Swift letting us glimpse the chaos inside her head (“Anti-Hero,” wall-to-wall zingers) and the stillness of her relationship (“Sweet Nothing,” co-written by Alwyn under his William Bowery pseudonym). For “Snow on the Beach,” she teams up with Lana Del Rey—an artist whose instinct for mood and theatrical framing seems to have influenced Swift’s recent catalog—recalling the magic of an impossible night over a backdrop of pizzicato violin, sleigh bells, and dreamy Mellotron, like the earliest hours of Christmas morning. “I’ve never seen someone lit from within,” Swift sings. “Blurring out my periphery.” \n\nBut then there’s “Bejeweled,” a late, 1989-like highlight on which she announces to an unappreciative partner, a few seconds in: “And by the way, I’m going out tonight.” And then out Swift goes, striding through the center of the song like she would the room: “I can still make the whole place shimmer,” she sings, relishing that last word. “And when I meet the band, they ask, ‘Do you have a man?’/I could still say, ‘I don’t remember.’” There are traces of melancholy layered in (see: “sapphire tears on my face”), but the song feels like a triumph, the sort of unabashed, extroverted fun that would have probably seemed out of place in the lockdown indie of 2020’s folklore and evermore. But here, side by side with songs and scenes of such writerly indulgence, it’s right at home—more proof that the terms “singer-songwriter” and “universal pop star” aren’t mutually exclusive ideas. “What’s a girl gonna do?” Swift asks at its climax. “A diamond’s gotta shine.”"
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    {
      "id": "1440933849",
      "name": "reputation",
      "link": "https://music.apple.com/us/album/reputation/1440933849",
      "artist_name": "Taylor Swift",
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        "short": "Taylor’s full-scale transformation—and her boldest statement yet.",
        "full": "A fall from grace is inevitable when you’re on top of the world. Taylor Swift experienced a taste of that in the aftermath of 1989, when her overexposure mixed with a rehashed public feud with Kanye West (and his then-wife Kim Kardashian). After the snake emojis flooded her comments and the narrative failed to exclude her, Swift went dark. She went so dark that when she returned with reputation in 2017, she had gone full macabre in her visuals and sound.\n\nSwift’s “goth-punk moment of female rage,” as she would describe it years later, was a full brand and sonic tilt for the singer. She reenlisted her 1989 co-conspirators Max Martin, Shellback, and Jack Antonoff, but this time around, her typical girl-next-door persona was shed like snake skin. The old Taylor was dead and the new Taylor was back with a vengeance: She cuts to the chase on “Look What You Made Me Do,” a Right Said Fred-sampling banger about the album’s villain origin story. Later, she’ll laugh off the betrayals on “This Is Why We Can’t Have Nice Things”—literally.\n\nBut don’t get it twisted: This isn’t an album about feuds and foes. reputation is largely a love story, relaying what happens when your world falls apart but someone is able to turn poison ivy into a daisy. Swift’s “big reputation” hovers over the quiet origins of her budding romance, as she sings on “End Game” alongside verses from Ed Sheeran and Future. On tracks like “Getaway Car,” “Don’t Blame Me,” and “Gorgeous,” she hints at the less-than-ideal timing of falling for someone as another relationship crumbles. \n\nRage is replaced with tenderness on “Delicate,” a sweet recollection of the type of nervous energy that buzzes in the early, uncertain days with someone new. By piano ballad album closer “New Year’s Day,” she’s settled in quite nicely with her new love, celebrating the banal domesticity after the party dies down."
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    {
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      "name": "Lover",
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        "short": "A love letter to love itself.",
        "full": "There’s a reason Taylor Swift sounds so confident and cool on Lover, her seventh album and the most free-spirited yet. She’s in love—pure, steady, starry-eyed, shout-it-from-the-rooftops love. Arriving 13 years after her eponymous debut album—and following a string of songs that sometimes felt like battle scars from public breakups and celebrity feuds—this project comes off clear-eyed, thick-skinned, and grown-up. It may be a sign that the 29-year-old has entered a new phase of her life: She’s now impressively private (she and her long-term boyfriend are rarely seen together in public), politically fired up (this album finds her fighting for queer and women’s rights), and eager to see the big picture (fans have speculated that the gut-wrenching “Soon You’ll Get Better” is about her mother’s battles with cancer).\n\nAs a result, she’s never sounded stronger or more in control. She calls out dark-age bigots on the Pride anthem “You Need to Calm Down,” sends up the patriarchy on “The Man,” perfects flippant indifference on “I Forgot That You Existed,” and dares to sing her own praises on “ME!,” a duet with Brendon Urie of Panic! At the Disco. Tonally, these songs couldn’t be more different than 2017’s vengeful and self-conscious Reputation.\n\nMost of the album is baked in the atmospheric synths and ’80s drums favored by collaborator Jack Antonoff (“The Archer,” “Lover”). And yet some of the best moments are also the most surprising. “It’s Nice to Have a Friend” is daydreamy and delicate, illuminated with laidback strumming, twinkling trumpet, and high-pitched ooh-oohs. And the percussive, playful “I Think He Knows” is a rollercoaster of a song, spiking and dipping from chatty whispers to breathy shout-singing in a matter of seconds."
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      "name": "THE TORTURED POETS DEPARTMENT: THE ANTHOLOGY",
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      "artist_name": "Taylor Swift",
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      "release_date": "2024-04-19",
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        "tagline": "New Album",
        "short": "Taylor empties the vault on the expanded version of her 2024 opus.",
        "full": "In the 18 months after Taylor Swift released Midnights, it often felt as though the universe had fully opened up to her. The Eras Tour was breaking records and blowing past the billion-dollar mark; its attendant concert film became the highest-grossing of all time. She generated interest and commerce and headlines everywhere she stepped foot, from tour stops to the tunnels of NFL stadiums. In 2023, she was named both TIME magazine’s Person of the Year and—just as iconic, tbh—Apple Music’s Artist of the Year. \n\nBut do songs about that level of success speak to you? As the news broke that her highly private six-year relationship to Joe Alwyn had ended, Swifties started Swiftie-ing, quickly recirculating a clip on social media of Swift a few weeks earlier, onstage during an early Eras show, in tears as she sang “champagne problems”—a song she and Alwyn had written together. It was a reminder that, despite the superhero-like aura she now radiates, Swift, at her peak, still hurts like the rest of us. What sets her apart is her ability to sublimate that pain into pop. When she announced her 11th studio album in early 2024—while accepting another Grammy, as one does—we probably shouldn’t have been surprised. \n\n“I needed to make it,” she’d say of THE TORTURED POETS DEPARTMENT a few weeks later, to a crowd of—[rubs eyes]—96,000 in Melbourne, Australia. “I’ve never had an album where I’ve needed songwriting more than I needed it on TORTURED POETS.” Working again with trusted collaborators Jack Antonoff and Aaron Dessner, she returns to the soft, comfortable, bed-like sonics of Midnights. But the stakes feel noticeably higher here: This isn’t so much a breakup album as it is a deep-sea exploration of everything Swift has been feeling, a plunge through emotional debris. \n\nOn “But Daddy I Love Him”—over strings and guitar that faintly recall her country roots—she lashes out at the crush of scrutiny and expectation she’s been subject to from the start. Naturally, catharsis comes after the chorus: “I’ll tell you something right now,” she sings. “I’d rather burn my whole life down than listen to one more second of all this bitching and moaning.” On “Florida!!!” she and Florence + the Machine team up for a pulpy escape fantasy wherein they Thelma and Louise their way down to the Sunshine State in hopes of starting over with new lives and identities: “Love left me like this,” they sing. “And I don’t want to exist.”\n\nAt turns hilarious and heartbreaking, TTPD is a study in extremes, Swift leaning into heightened emotions with heightened, hyperbolic, ALL-CAPS language and imagery—how we think when we’re drunk on love or flattened by its sudden disappearance. Note the dark humor she weaves through the Post Malone-enriched opener “Fortnight” (“Your wife waters flowers/I wanna kill her”). Or the thrilling self-deprecation of “Down Bad,” a foray into science fiction wherein Swift likens the warmth of a relationship to being abducted by love-bombing extraterrestrials—only to be left “naked and alone, in a field in my same old town.” \n\nBut this remains her most candid and unsparing work to date: As a listener, you frequently get the feeling that you’ve stumbled across emails she’d written but never sent, or into conversations you were never meant to hear. There’s a density and a specificity and a ferocity to her lyrical work here that makes 2012’s “All Too Well” feel sorta light by comparison. If you’re the kind of Swiftie who likes to live in the details, well, this one might be your Super Bowl. “You swore that you loved me, but where were the clues?” she asks on the devastating “So Long, London,” a high point. “I died on the altar waiting for the proof.” Alone at a piano on the haunting “loml,” she flips the script on someone who’d told her she was the love of their life, by telling them that they were the loss of hers: “I’ll still see it until I die.” \n\nThe story, as you likely know, doesn’t end there. We get a glimpse of new beginnings in “The Alchemy” (“This happens once every few lifetimes/These chemicals hit me like white wine”) and something like triumph in the montage-ready synths of “I Can Do It With a Broken Heart,” when Swift, shattered on the floor, “as the crowd was chanting, ‘More!’,” still finds the strength to deliver: “’Cause I’m a real tough kid and I can handle my shit.” \n\nBut we also get a sense of acceptance, of newfound perspective. On “Clara Bow”—named after a 1920s movie star who was able to survive the jump from silent film to sound—Swift reflects on the journey of a small-town girl made good, sung from the vantage of an industry obsessed with the next big thing. She zooms out and out and out until, in the album’s closing seconds, she’s singing about herself in the third person, in past tense, acknowledging that nothing is forever. “You look like Taylor Swift in this light, we’re loving it,” she sings. “You’ve got edge she never did/The future’s bright, dazzling.”"
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    {
      "id": "1528112358",
      "name": "folklore (deluxe version)",
      "link": "https://music.apple.com/us/album/folklore-deluxe-version/1528112358",
      "artist_name": "Taylor Swift",
      "release_type": "album",
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      "copyright": "℗ 2020 Taylor Swift",
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      "release_date": "2020-07-24",
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        "short": "Taylor has one more folklore surprise: a bonus track, “the lakes.”",
        "full": "A mere 11 months passed between the release of Lover and its surprise follow-up, but it feels like a lifetime. Written and recorded remotely during the first few months of the global pandemic, folklore finds the 30-year-old singer-songwriter teaming up with The National’s Aaron Dessner and longtime collaborator Jack Antonoff for a set of ruminative and relatively lo-fi bedroom pop that’s worlds away from its predecessor. When Swift opens “the 1”—a sly hybrid of plaintive piano and her naturally bouncy delivery—with “I’m doing good, I’m on some new shit,” you’d be forgiven for thinking it was another update from quarantine, or a comment on her broadening sensibilities. But Swift’s channeled her considerable energies into writing songs here that double as short stories and character studies, from Proustian flashbacks (“cardigan,” which bears shades of Lana Del Rey) to outcast widows (“the last great american dynasty”) and doomed relationships (“exile,” a heavy-hearted duet with Bon Iver’s Justin Vernon). It’s a work of great texture and imagination. “Your braids like a pattern/Love you to the moon and to Saturn,” she sings on “seven,” the tale of two friends plotting an escape. “Passed down like folk songs, the love lasts so long.” For a songwriter who has mined such rich detail from a life lived largely in public, it only makes sense that she’d eventually find inspiration in isolation."
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    {
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      "name": "1989",
      "link": "https://music.apple.com/us/album/1989/1440935467",
      "artist_name": "Taylor Swift",
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      "record_label": "Taylor Swift",
      "copyright": "℗ 2014 Taylor Swift",
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        "short": "Leaving country behind for pop, Taylor uses nostalgia to move forward.",
        "full": "It’s weirdly easy to forget that in 2014, Taylor Swift was still approaching (nah, engineering) an inflection point in her life and career, reintroducing herself (at just 24) as the all-conquering, planet-like presence we know today. She’d already started adjusting the ratio of country to pop on 2010’s Speak Now and 2012’s Red, working with Swedish superproducers Max Martin and Shellback on the latter. On 1989, Swift did away with the idea of ratios entirely—just launched them into the ocean, and went all the way.\n\nMusically, it wasn’t just her embrace of big beats and shiny surfaces, but a sense of lightness and play as well. Where 2008’s Fearless and Speak Now take their dramas to Shakespearean heights, 1989 celebrates a newly liberated life of flings (“Style”), weekend getaways (“Wildest Dreams”), and the kind of confidence a younger Taylor Swift was too passionately involved to grasp. So while “Welcome to New York” is her way of letting everyone know that she’s at least momentarily done with country music and Nashville and the constrictions they put on her image and sound, it’s also a song about turning your eye outward and surrendering to the possibilities only a city like New York can offer. And where she may have taken things personally in the past, now she’s just trying to have fun (“Shake It Off”). “Blank Space” even manages to make light of her gravest and most well-protected subject: Taylor Swift.\n\nLike Shania Twain’s Come On Over or even Bob Dylan’s Bringing It All Back Home, 1989 is an instance in which an artist deliberately defies expectations and still manages to succeed. Swift didn’t exactly grow up with the synthesized, ’80s-inspired sounds that producers like Martin, Shellback, Ryan Tedder, and future bestie Jack Antonoff help her create here; as the album’s title reminds you, she wasn’t even born until the decade was ending. But just as she played with the traditions and conventions of country music on her early albums, Swift uses the nostalgia of 1989 not to look back, but to move ahead."
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    {
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      "name": "The Life of a Showgirl: The Encore",
      "link": "https://music.apple.com/us/album/the-life-of-a-showgirl-the-encore/6814997249",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2026 Taylor Swift",
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      "release_date": "2026-09-24",
      "track_count": 16,
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        "title": null,
        "tagline": "New Release",
        "short": "Curtain call! The superstar adds four new tracks to her 2025 opus.",
        "full": "What’s a girl gonna do after the record-smashing Eras Tour? Well, its success sparked the flame inside Taylor Swift that led to a reunion with former collaborators Max Martin and Shellback for her 12th full-length, The Life of a Showgirl. Indeed, in a very showgirl manner, Swift flew back and forth to Sweden between stops on her European leg—remember, the singer-songwriter believes “jet lag is a choice”—to join Martin and Shellback, Swift’s co-writers and producers on some of the most memorable and popular hits of her career (“We Are Never Ever Getting Back Together,” “22,” “Shake It Off,” “Blank Space,” “Don’t Blame Me,” and “Delicate,” to name a few). The result? A confident, dazzling, at times elegant, at times cheeky, at times sensual pop explosion that examines Swift’s relationships and her fame, which is both deeply personal yet extremely relatable...mostly. (The struggles of “Elizabeth Taylor”—with its thumping rock vibes—can understandably be reserved for the uber-famous showgirls in the room.)\n\n“This album, by personality, was a funnier album,” she tells Apple Music’s Zane Lowe. “It was coming off of TORTURED POETS DEPARTMENT—the character attributes I was highlighting in that writing process were much more serious and sensitive and introspective, and oftentimes more earnest and stoic, and the characteristics of a poet. This one was like, showgirls are mischievous, fun, scandalous, sexy, fun, flirty, hilarious.” On the album’s first single, “The Fate of Ophelia,” Swift tests that theory by dipping back into the Shakespearean well that earned her crossover success and adoring fans, and once again, she turns the Bard’s tale into a romance rather than a tragedy. But this time, it’s more mature and fierce—as the acceptant heroine resigns herself to solitude before the hero ever comes around: “I swore my loyalty to me, myself, and I/Right before you lit my sky up.”\n\nHer muses, of course, will be well-dissected. The aforementioned savior in “Ophelia” is most likely Swift’s then husband-to-be, the three-time Super Bowl champion Travis Kelce. (She did, after all, announce the album on his podcast.) And he probably has a few more cuts dedicated to him—the most direct being the saucy, ’70s-funk-infused “Wood” and its “new heights of manhood” revelation. “When I met Travis, I started to feel a little bit like I could be like a person who could have romantic whims and have these dreams,” she says.\n\n“Actually Romantic,” with its semi-stripped-down production, deals not with a lover but with a certain hater. “You think I’m tacky, baby/Stop talking dirty to me/It sounded nasty, but it feels like you’re flirting with me/I mind my business, God’s my witness that I don’t provoke it/It’s kind of making me wet,” Swift teases. And “Father Figure” pays homage to George Michael with Swift’s breathy vocals, ending with a menacing act of betrayal by a protégé: “You made a deal with this devil/Turns out my dick’s bigger/You want a fight, you found it/I got the place surrounded.”\n\nImportantly, though, remove Swift’s own personal inspirations and score-settling, and you get what she does best: vibrant songs that speak to universal emotions through her storytelling. The buoyant “Opalite” shows two people finding each other at the right time; baroque-pop “Wi$h Li$t” portrays someone who knows what her heart desires. And “Eldest Daughter,” the famous track 5—generally one of Swift’s most vulnerable on each of her albums—reveals a promise of devotion.\n\nIn its first iteration, Swift ends the record on its title track, an epic duet with Sabrina Carpenter where the women volley back and forth about a girl named Kitty, perhaps alluding to their own places in the world. “And all the headshots on the walls of the dance hall are of the bitches who wish I’d hurry up and die/But I’m immortal now, baby dolls, I couldn’t if I tried,” Swift sings proudly. In other words, as she’s proven time and time again, she’ll never go out of style.\n\n“Making this was really something I’ve been wanting to do for my entire career, because I have always wanted to have fun in this type of way,” she says. “To have fun, to exhibit mischief and be flirty and fun and make jokes—that’s a huge part of my personality. Oftentimes, I get so serious, or I’m really known for a lot of my sad songs, my cathartic songs or breakup songs or whatever, because I love to write those things—but that’s not the place I’m in my life. So, what I have left behind is something that really exhibits who I am in this moment.”\n\nAfter its blockbuster release, she realized she wasn’t quite done with that moment (despite her insistence on the aforementioned podcast). Another Swift trip to the Nordic land led her to the studio flanked by Martin and Shellback again, ending in the production of four new tracks for an expanded edition, The Life of a Showgirl: The Encore, in 2026.\n\nThere’s the consoling “Patient Zero” and its violin-tinged melody; the glockenspiel-backed “Cleveland!”—famously Kelce’s hometown—an upbeat and carefree ode to discovering the person “who doesn’t find you completely insufferable”; plus “Pink Clouding” and “Babylon,” both stylishly nostalgic reflections on regret. All adding more layers to the inner life of one of the planet's biggest superstars."
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    {
      "id": "1547315522",
      "name": "evermore (deluxe version)",
      "link": "https://music.apple.com/us/album/evermore-deluxe-version/1547315522",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2021 Taylor Swift",
      "upc": "00602435688749",
      "release_date": "2020-12-11",
      "track_count": 17,
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        "short": "Taylor's beautifully intimate folklore partner record, now with three extra tracks.",
        "full": "Surprise-dropping a career-redefining album in the midst of a paralyzing global pandemic is an admirable flex; doing it again barely five months later is a display of confidence and concentration so audacious that you’re within your rights to feel personally chastised. Like folklore, evermore is a team-up with Aaron Dessner, Jack Antonoff, and Justin Vernon, making the most of cozy home-studio vibes for more bare-bones arrangements and bared-soul lyrics, casually intimate and narratively rich.\n\nThere is an expanded guest roster here—HAIM appears on “no body, no crime,” which seems to place Este Haim in the center of a small-town murder mystery, while Dessner’s bandmates in The National are on “coney island”—but they fit themselves into the mood rather than distract from it. (The percussive “long story short” sounds like it could have been on any National album in the past decade.) Elsewhere, “'tis the damn season” is the elegaic home-for-the-holidays ballad this busted year didn’t realize it needed. But while so much of folklore’s appeal involved marveling at how this setting seemed to have unlocked something in Swift, the only real shock here is the timing of the release itself. Beyond that, it’s an extension and confirmation of its predecessor’s promises and charms, less a novelty driven by unprecedented circumstances and instead simply a thing she happens to do and do well."
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    {
      "id": "1690839749",
      "name": "Speak Now (Taylor's Version)",
      "link": "https://music.apple.com/us/album/speak-now-taylors-version/1690839749",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2023 Taylor Swift",
      "upc": "00602455918284",
      "release_date": "2023-07-07",
      "track_count": 23,
      "genres": [
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        "tagline": "New Album in Spatial Audio",
        "short": "Taylor revisits her brave 2010 LP.",
        "full": "“Real life is a funny thing, you know,” Taylor Swift wrote in the liner notes of 2010’s Speak Now, her third album and the third she’s rerecorded as part of a sweeping effort to regain her master tapes. “There is a time for silence. There is a time for waiting your turn. But if you know how you feel, and you so clearly know what you need to say, you’ll know it.”\n\nSwift was in her early twenties when she wrote Speak Now, still finding her voice as an artist and as an adult. But she’s faithful to her originals here—all of them written on her own, on tour, without co-writers—and faithful to a much younger version of herself. She pays tribute to early influences like Fall Out Boy and Paramore’s Hayley Williams, teaming up with them on the reimagined “from the vault” tracks “Electric Touch” and “Castles Crumbling,” respectively. And though she swaps Nashville producer Nathan Chapman for more recent collaborators Jack Antonoff and Aaron Dessner, the arrangements are still warm and clear—minus a coat of varnish or two—with an eye towards the sort of all-encompassing pop she’d inevitably, wholeheartedly embrace. We all know what came next for Swift with 2012’s Red, but, looking back, you can easily see and hear what’s on the horizon in these songs. \n\nThe grace of Speak Now is in how it makes simple work out of feelings that are anything but. Swift is vulnerable here, but she’s also self-empowered (“Mean”). She’s innocent, but knows when to take responsibility (“Dear John”). She’s wise enough to regret her mistakes (“Back to December”), but not too jaded see the best in people (“Innocent”). Does she want to grow up? Yes, if that means more agency and independence (“Speak Now”). But when you’re all alone in that new apartment, you still might cry—not just for the childhood home you left, but for the knowledge that you can never go back (“Never Grow Up”).\n\nThe sound is big, but the details are extremely specific—at one point, Swift says her rival thinks she’s crazy because Swift likes to rhyme her name with things (pop-punk blowout “Better Than Revenge”). It’s that balance—the universal and the specific, the accessible and the obscure—that not only sets Swift apart from most contemporary pop songwriters, but makes her a guide for anyone trying to sort out the impossible avalanche of feelings early adulthood brings.\n\nNot that you have to be a teenager to resonate with her. If anything, what makes Swift special is her hunch that everyone has had their turn at the heartache she writes about, whether they’re ready to admit it or not. In her liner notes for Fearless, she described the power of believing in Prince Charmings and happily-ever-afters. On Speak Now, most of the Prince Charmings turn out to be duds, and the real happily-ever-after is the wisdom and resilience you find in falling for them anyway."
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    {
      "id": "1552791073",
      "name": "Fearless (Taylor's Version)",
      "link": "https://music.apple.com/us/album/fearless-taylors-version/1552791073",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2021 Taylor Swift",
      "upc": "00602435839035",
      "release_date": "2021-04-09",
      "track_count": 26,
      "genres": [
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        "short": "With Spatial Audio, Taylor’s reimagined 2008 LP sounds even more intimate.",
        "full": "In 2019, Taylor Swift announced plans to rerecord her entire catalog to that point, an ambitious move sparked by the sale of her original label, Big Machine Label Group, along with all of her masters. Swift’s first entry into this reimagined canon is a new take on her landmark 2008 sophomore LP Fearless, which, among many other accolades, took home the coveted Album of the Year trophy at the 2010 Grammy Awards. Swift first teased the “Taylor’s Version” of Fearless with the release of a new recording of one of her biggest hits, the ode to youthful romance “Love Story.” That version stays remarkably true to the original track, though it’s hard not to notice how Swift’s voice has strengthened and matured in the 13 years since. (But in this updated version mixed in Spatial Audio with Dolby Atmos, the difference is clear: more warmth, more intimacy, more clarity with which to appreciate the deceptive ease of Swift’s songwriting.) Elsewhere, she revisits other juggernauts like “Fifteen,” “Forever & Always,” and, of course, “You Belong With Me,” another of her biggest-selling songs."
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    {
      "id": "1689131527",
      "name": "Midnights (The Til Dawn Edition)",
      "link": "https://music.apple.com/us/album/midnights-the-til-dawn-edition/1689131527",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2023 Taylor Swift",
      "upc": "00602455890030",
      "release_date": "2022-10-21",
      "track_count": 23,
      "genres": [
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        "tagline": "New Deluxe Edition",
        "short": "“The stories of 13 sleepless nights.”",
        "full": "Let’s start with that speech. In September 2022, as Taylor Swift accepted Songwriter-Artist of the Decade honors at the Nashville Songwriter Awards, the headline was that Swift had unveiled an admittedly “dorky” system she’d developed for organizing her own songs. Quill Pen, Fountain Pen, Glitter Gel Pen: three categories of lyrics, three imagined tools with which she wrote them, one pretty ingenious way to invite obsessive fans to lovingly obsess all the more.\n\nAnd yet, perhaps the real takeaway was the manner in which she spoke about her craft that night, some 20 years after writing her first song at the age of 12. “I love doing this thing we are fortunate enough to call a job,” she said to a room of her peers. “Writing songs is my life’s work and my hobby and my never-ending thrill. A song can defy logic or time. A good song transports you to your truest feelings and translates those feelings for you. A good song stays with you even when people or feelings don’t.”\n\nOn Midnights, her tenth LP and fourth in as many years—if you don’t count the two she’s just rerecorded and buttressed with dozens of additional tracks—Swift sounds like she’s really enjoying her work, playing with language like kids do with gum, thrilling to the texture of every turn of phrase, the charge in every melody and satisfying rhyme. Alongside longtime collaborator Jack Antonoff, she’s set out here to tell “the stories of 13 sleepless nights scattered throughout [her] life,” as she phrased it in a message to Apple Music subscribers. It’s a concept that naturally calls for a nocturnal palette: slower tempos, hushed atmosphere, negative space like night sky. \n\nThe sound is fully modern (synths you’d want to eat or sleep in, low end that sits comfortably on your chest), while the aesthetic (soft focus, wood paneling, tracklist on the cover) is decidedly mid-century, much like the Mad Men-inspired title of its brooding opener, “Lavender Haze”—a song about finding refuge in the glow of intimacy. “Talk your talk and go viral,” she sings, in reference to the maelstrom of outside interest in her six-year relationship with actor Joe Alwyn. “I just want this love spiral.” (A big shout to Antonoff for those spongy backup vocals, btw.) \n\nIn large part, Midnights is a record of interiors, Swift letting us glimpse the chaos inside her head (“Anti-Hero,” wall-to-wall zingers) and the stillness of her relationship (“Sweet Nothing,” co-written by Alwyn under his William Bowery pseudonym). For “Snow on the Beach,” she teams up with Lana Del Rey—an artist whose instinct for mood and theatrical framing seems to have influenced Swift’s recent catalog—recalling the magic of an impossible night over a backdrop of pizzicato violin, sleigh bells, and dreamy Mellotron, like the earliest hours of Christmas morning. “I’ve never seen someone lit from within,” Swift sings. “Blurring out my periphery.” \n\nBut then there’s “Bejeweled,” a late, 1989-like highlight on which she announces to an unappreciative partner, a few seconds in: “And by the way, I’m going out tonight.” And then out Swift goes, striding through the center of the song like she would the room: “I can still make the whole place shimmer,” she sings, relishing that last word. “And when I meet the band, they ask, ‘Do you have a man?’/I could still say, ‘I don’t remember.’” There are traces of melancholy layered in (see: “sapphire tears on my face”), but the song feels like a triumph, the sort of unabashed, extroverted fun that would have probably seemed out of place in the lockdown indie of 2020’s folklore and evermore. But here, side by side with songs and scenes of such writerly indulgence, it’s right at home—more proof that the terms “singer-songwriter” and “universal pop star” aren’t mutually exclusive ideas. “What’s a girl gonna do?” Swift asks at its climax. “A diamond’s gotta shine.”\n\nThis special expanded version of Midnights includes three additional songs."
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    {
      "id": "1590368448",
      "name": "Red (Taylor’s Version) [+ A Message from Taylor]",
      "link": "https://music.apple.com/us/album/red-taylors-version-a-message-from-taylor/1590368448",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2021 Taylor Swift",
      "upc": "00602445068036",
      "release_date": "2021-11-12",
      "track_count": 31,
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        "short": "Featuring nine never-before-released tracks in immersive Spatial Audio.",
        "full": "After rerecording her 2008 album Fearless as part of a sweeping effort to regain control of her master tapes—or at least create new ones—Taylor Swift presents Red (Taylor’s Version), an expanded take on her 2012 blockbuster that features nine never-before-released songs written in the same era as the original.\n\n“Musically and lyrically, Red resembled a heartbroken person,” she wrote in a letter to fans. “It was all over the place, a fractured mosaic of feelings that somehow all fit together in the end. Happy, free, confused, lonely, devastated, euphoric, wild, and tortured by memories past. Like trying on pieces of a new life, I went into the studio and experimented with different sounds and collaborators. And I’m not sure if it was pouring my thoughts into this album, hearing thousands of your voices sing the lyrics back to me in passionate solidarity, or if it was simply time, but something was healed along the way.”\n\nThe hot-blooded breakup anthems you know and love are still there (“We Are Never Ever Getting Back Together” and “I Knew You Were Trouble” are two), but the new, full collection paints an even richer portrait of heartbreak. She wrestles with change on “Nothing New,” an alt-rock duet with Phoebe Bridgers; contemplates fate on a wistful pop song produced by Max Martin and Shellback (“Message in a Bottle”); and gets the final, piercing word on “I Bet You Think About Me” featuring Chris Stapleton, penned after a high-profile breakup in 2011. Longtime fans will be especially glad to see an extended cut of “All Too Well,” the project’s emotional centerpiece. It features new production from hitmaker Jack Antonoff, but Swift’s original lyrical genius is still remarkable. “And you call me up again just to break me like a promise/So casually cruel in the name of being honest,” she sings. It’s the line she’s always said she’s most proud of from this album and era. Ten years on, it still cuts deep."
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    {
      "id": "1713845538",
      "name": "1989 (Taylor's Version) [Deluxe]",
      "link": "https://music.apple.com/us/album/1989-taylors-version-deluxe/1713845538",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2023 Taylor Swift",
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      "release_date": "2023-10-27",
      "track_count": 22,
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        "title": null,
        "tagline": "Featured in 100 Best Albums",
        "short": "Leaving country behind for pop, Taylor uses nostalgia to move forward.",
        "full": "100 Best Albums When Taylor Swift announced that 1989 (Taylor’s Version) was finally seeing release, she mentioned that, of all the albums she’s faithfully rerecorded in her quest to retake her master tapes, this one was special. “The 1989 album changed my life in countless ways,” she wrote on Instagram. “To be perfectly honest, this is my most FAVORITE re-record I’ve ever done because the 5 From The Vault tracks are so insane. I can’t believe they were ever left behind.”\n\nFrom “Now That We Don’t Talk” (on which, wowee zowee, she sings, “I don’t have to pretend I like acid rock/Or that I’d like to be on a mega-yacht/With important men who think important thoughts”) to “Say Don’t Go” to “Is It Over Now?”, one gets a real feel for the ferocity and focus with which she was writing at the time, a new audience in sight. It’s not just that any one of the newly uncovered songs here is more than strong enough to have been included (or strong enough to have launched the career of a less prolific artist); it’s that, even on material previously deemed inessential, Swift sounds comfortable bordering on imperious—like she’d been making lush, montage-ready pop music all along. \n\nNearly a decade later—and at the tail end of a 2023 in which her every move seems to have determined pop-cultural weather—it’s weirdly easy to forget that in 2014, she was still approaching (nah, engineering) an inflection point in her life and career, reintroducing herself (at just 24) as the all-conquering, planet-like presence we know today. She’d already started adjusting the ratio of country to pop on 2010’s Speak Now and 2012’s Red, working with Swedish superproducers Max Martin and Shellback on the latter. On 1989, Swift did away with the idea of ratios entirely—just launched them into the ocean, and went all the way. \n\nMusically, it wasn’t just her embrace of big beats and shiny surfaces, but a sense of lightness and play as well. Where 2008’s Fearless and Speak Now take their dramas to Shakespearean heights, 1989 celebrates a newly liberated life of flings (“Style”), weekend getaways (“Wildest Dreams”), and the kind of confidence a younger Taylor Swift was too passionately involved to grasp. So while “Welcome to New York” is her way of letting everyone know that she’s at least momentarily done with country music and Nashville and the constrictions they put on her image and sound, it’s also a song about turning your eye outward and surrendering to the possibilities only a city like New York can offer. And where she may have taken things personally in the past, now she’s just trying to have fun (“Shake It Off”). “Blank Space” even manages to make light of her gravest and most well-protected subject: Taylor Swift.\n\nLike Shania Twain’s Come On Over or even Bob Dylan’s Bringing It All Back Home, 1989 is an instance in which an artist deliberately defies expectations and still manages to succeed. Swift didn’t exactly grow up with the synthesized, ’80s-inspired sounds that producers like Martin, Shellback, Ryan Tedder, and future bestie Jack Antonoff help her create here; as the album’s title reminds you, she wasn’t even born until the decade was ending. But just as she played with the traditions and conventions of country music on her early albums, Swift uses the nostalgia of 1989 not to look back, but to move ahead."
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    {
      "id": "1440935340",
      "name": "Red",
      "link": "https://music.apple.com/us/album/red/1440935340",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2012 Taylor Swift",
      "upc": "00843930007134",
      "release_date": "2012-01-01",
      "track_count": 16,
      "genres": [
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        "Music",
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        "short": "When Taylor Swift introduced herself as a commanding pop supernova.",
        "full": "Nashville was never big enough to contain Taylor Swift. So for her fourth album, she turned to Sweden for a pop-hit crash course from the biggest expert she should find: Max Martin. After spending her teens dominating the pop charts as a country artist, it was time for Swift to get a taste of making pure pop music. Red was the first toe-dip into a sound that would come to define much of her career: a seamless blend between her country roots and her pop ambitions.\n\nWith Martin and his collaborator Shellback, Swift blended guitar riffs with EDM drum fills and dub drops. Gleeful kiss-off “We Are Never Ever Getting Back Together” bait-and-switches with a country guitar riff bleeding into four-on-the-floor bass drum beats and synthesizers. The song would cause a lot of commotion before garnering Swift her first-ever No. 1 hit. On “I Knew You Were Trouble,” Swift is even more experimental, with a full dubstep build-up and drop hitting during the chorus. \n\nSwift would save a full-blown pop album for her next; Red was just a bit of a teaser that still focuses on the country sound she was known for. In order to bridge the disparate energies of a synth-explosion like “22” with the down-home twanginess of one like “Stay Stay Stay,” she often finds herself pulling inspiration from the ’80s stadium rock of stars like Bruce Springsteen, U2, and Tom Petty. She goes full “American Girl” on “State of Grace” and makes pal Ed Sheeran the Don Henley to her Stevie Nicks on “Everything Has Changed.”\n\nThe crown jewel of the album, however, sits at that infamous Track 5 spot. “All Too Well” takes the best of all Swift’s worlds and pours them into an emotional, heart-wrenching, brilliant power ballad. Even Swift herself has regarded it as one of her best, the truest breakup song in an album that she has referred to as her “only true break-up album.”"
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    {
      "id": "1440913923",
      "name": "Taylor Swift (Bonus Track Version)",
      "link": "https://music.apple.com/us/album/taylor-swift-bonus-track-version/1440913923",
      "artist_name": "Taylor Swift",
      "release_type": "album",
      "record_label": "Taylor Swift",
      "copyright": "℗ 2008 Taylor Swift",
      "upc": "00843930000821",
      "release_date": "2006-10-24",
      "track_count": 15,
      "genres": [
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        "short": "A ferocious and prodigious debut that was wise beyond her years.",
        "full": "When she was just 14, Taylor Swift’s family moved from Pennsylvania to Nashville to help their daughter’s dreams of being a country music star come true. She began playing open mics and new artist showcases around Music City, eventually getting signed to Big Machine. She immediately got to work on her debut album with producer Nathan Chapman and co-writers like Robert Ellis Orrall, Angelo Petraglia, and Liz Rose. The result was Taylor Swift, a ferocious and prodigious debut that put Swift immediately on the map. \n\nHer first single “Tim McGraw” set a high bar: She singled out one of the biggest country music stars of all time as a source of nostalgia for the most romantic times with a lover. “Teardrops on My Guitar” found her further fine-tuning her ballad skills, making a perfectly weepy breakup song that you didn’t need to be in high school to understand deeply. \n\nBut Swift was just as adept at making upbeat radio hits like her influences like Faith Hill and The Chicks. “Picture to Burn” and “Should’ve Said No” are sharp, funny, and vicious kiss-offs, the type of biting breakup postmortem that she would come to perfect over the next two decades. Meanwhile, the bubblegum country-pop of “Our Song” is a distinctly down-home love song, with its playful imagery and infectious, instantly memorizable chorus. Taylor Swift made clear that the world had more than a teeny-bopper star on its hands. Swift immediately categorized herself among the greats by picking up her guitar and singing confidently and directly from the heart."
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    {
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      "name": "You're Losing Me (From The Vault) - Single",
      "link": "https://music.apple.com/us/album/youre-losing-me-from-the-vault-single/1718576580",
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  "you_might_also_like": [
    {
      "id": "1736994915",
      "name": "GUTS (spilled)",
      "link": "https://music.apple.com/us/album/guts-spilled/1736994915",
      "artist_name": "Olivia Rodrigo",
      "release_type": "album",
      "record_label": "Olivia Rodrigo PS",
      "copyright": "℗ 2024 Olivia Rodrigo, under exclusive license to Geffen Records",
      "upc": "00602465585636",
      "release_date": "2023-09-08",
      "track_count": 20,
      "genres": [
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      "description": {
        "title": null,
        "tagline": "New Deluxe Edition",
        "short": "Read our interview and hear the expanded edition with five new songs.",
        "full": "As Olivia Rodrigo set out to write her second album, she froze. “I couldn't sit at the piano without thinking about what other people were going to think about what I was playing,” she tells Apple Music. “I would sing anything and I'd just be like, ‘Oh, but will people say this and that, will people speculate about whatever?’”\n\nGiven the outsized reception to 2021’s SOUR—which rightly earned her three Grammys and three Apple Music Awards that year, including Top Album and Breakthrough Artist—and the chatter that followed its devastating, extremely viral first single, “drivers license,” you can understand her anxiety. She’d written much of that record in her bedroom, free of expectation, having never played a show. The week before it was finally released, the then-18-year-old singer-songwriter would get to perform for the first time, only to televised audiences in the millions, at the BRIT Awards in London and on SNL in New York. Some artists debut—Rodrigo arrived.\n\nBut looking past the hype and the hoo-ha and the pressures of a famously sold-out first tour (during a pandemic, no less), trying to write as anticipated a follow-up album as there’s been in a very long time, she had a realization: “All I have to do is make music that I would like to hear on the radio, that I would add to my playlist,” she says. “That's my sole job as an artist making music; everything else is out of my control. Once I started really believing that, things became a lot easier.” \n\nWritten alongside trusted producer Dan Nigro, GUTS is both natural progression and highly confident next step. Boasting bigger and sleeker arrangements, the high-stakes piano ballads here feel high-stakes-ier (“vampire”), and the pop-punk even punkier (“all-american bitch,” which somehow splits the difference between Hole and Cat Stevens’ “Here Comes My Baby”). If SOUR was, in part, the sound of Rodrigo picking up the pieces post-heartbreak, GUTS finds her fully healed and wholly liberated—laughing at herself (“love is embarrassing”), playing chicken with disaster (the Go-Go’s-y “bad idea right?”), not so much seeking vengeance as delighting in it (“get him back!”). This is Anthem Country, joyride music, a set of smart and immediately satisfying pop songs informed by time spent onstage, figuring out what translates when you’re face-to-face with a crowd. “Something that can resonate on a recording maybe doesn't always resonate in a room full of people,” she says. “I think I wrote this album with the tour in mind.”\n\nAnd yet there are still moments of real vulnerability, the sort of intimate and sharply rendered emotional terrain that made Rodrigo so relatable from the start. She’s straining to keep it together on “making the bed,” bereft of good answers on “logical,” in search of hope and herself on gargantuan closer “teenage dream.” Alone at a piano again, she tries to make sense of a betrayal on “the grudge,” gathering speed and altitude as she goes, each note heavier than the last, “drivers license”-style. But then she offers an admission that doesn’t come easy if you’re sweating a reaction: “It takes strength to forgive, but I don’t feel strong.” In hindsight, she says, this album is “about the confusion that comes with becoming a young adult and figuring out your place in this world and figuring out who you want to be. I think that that's probably an experience that everyone has had in their life before, just rising from that disillusionment.” Read on as Rodrigo takes us inside a few songs from GUTS. \n\n“all-american bitch”\n“It's one of my favorite songs I've ever written. I really love the lyrics of it and I think it expresses something that I've been trying to express since I was 15 years old—this repressed anger and feeling of confusion, or trying to be put into a box as a girl.”\n\n“vampire”\n“I wrote the song on the piano, super chill, in December of [2022]. And Dan and I finished writing it in January. I've just always been really obsessed with songs that are very dynamic. My favorite songs are high and low, and reel you in and spit you back out. And so we wanted to do a song where it just crescendoed the entire time and it reflects the pent-up anger that you have for a situation.”\n\n“get him back!”\n“Dan and I were at Electric Lady Studios in New York and we were writing all day. We wrote a song that I didn't like and I had a total breakdown. I was like, ‘God, I can't write songs. I'm so bad at this. I don't want to.’ Being really negative. Then we took a break and we came back and we wrote ‘get him back!’ Just goes to show you: Never give up.”\n\n“teenage dream”\n“Ironically, that's actually the first song we wrote for the record. The last line is a line that I really love and it ends the album on a question mark: ‘They all say that it gets better/It gets better the more you grow/They all say that it gets better/What if I don't?’ I like that it’s like an ending, but it's also a question mark and it's leaving it up in the air what this next chapter is going to be. It's still confused, but it feels like a final note to that confusion, a final question.”"
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    {
      "id": "1702906527",
      "name": "Endless Summer Vacation",
      "link": "https://music.apple.com/us/album/endless-summer-vacation/1702906527",
      "artist_name": "Miley Cyrus",
      "release_type": "album",
      "record_label": "Columbia",
      "copyright": "℗ 2023 Smiley Miley, Inc. under exclusive license to Columbia Records, a Division of Sony Music Entertainment",
      "upc": "196871387361",
      "release_date": "2023-03-10",
      "track_count": 14,
      "genres": [
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        "Music"
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      "description": {
        "title": null,
        "tagline": "New Album in Spatial Audio",
        "short": "Miley ties all the past Mileys together for the album of her career, in Spatial.",
        "full": "Who, exactly, is Miley Cyrus? Is she the country music progeny turned former child star turned pop provocateur, twerking on awards shows and throwing middle fingers to critics? Is she the hopeful young balladeer, lending her naturally emotive voice to Top 40 anthems like 2009’s “The Climb”? Or is she the rock star in hiding, getting trippy with The Flaming Lips on their collaboration Dead Petz and channeling her inner Joan Jett on 2020’s Plastic Hearts? While her shifting identities can distract from her formidable musicianship, it is exactly this restless, chameleonic nature that makes Cyrus one of our more engaging and enduring pop stars. \n\nOn eighth LP Endless Summer Vacation, Cyrus finally finds a way to bring these seemingly disparate parts together. She tapped four producers to help helm the album, each with an ear toward one of Cyrus’ primary lanes. Greg Kurstin (Adele, Maren Morris) brings his trademark gravitas to the cutting but compassionate breakup ballad “Jaded.” Kid Harpoon, who recently took home a Grammy for Harry Styles’ Harry’s House, has fingerprints all over the LP, as on powerhouse opener “Flowers,” Cyrus’ biggest single since 2013’s “Wrecking Ball.” Tyler Johnson, a fellow Nashvillian with credits ranging from Taylor Swift to Toni Braxton, pairs well with Cyrus, his own catholic tastes dovetailing nicely with hers. Mike WiLL Made-It, a longtime Cyrus collaborator, jumps in on tracks like the Brandi Carlile feature “Thousand Miles,” which feels country-adjacent but ultimately transcends genre, and the dark, industrial Sia collab “Muddy Feet,” which boasts one of the LP’s most biting lyrics: “You smell like perfume that I didn’t purchase.” Lines like that may provoke curiosity into Cyrus’ personal life—she’s made no effort to conceal that much of the material was inspired by her divorce from Liam Hemsworth—but the music itself is sturdy enough to transcend tabloid fodder.\n\nThere are also other notable—and at times unexpected—co-writers on the LP. Cult-favorite indie filmmaker Harmony Korine (Spring Breakers, Kids) is credited on the woozy, gauzy “Handstand,” which lyrically references one of his paintings, “Big Twitchy.” Acclaimed R&B/electronic artist James Blake joins on album highlight “Violet Chemistry,” which feels like a spiritual and sonic cousin of Taylor Swift’s Midnights cut “Lavender Haze.” Country artist and songwriter Caitlyn Smith, who co-wrote the Plastic Hearts standout “High,” contributes to “Island,” a groovy, low-key banger about the double-edged sword of independence.\n\nCyrus closes Endless Summer Vacation with a demo version of “Flowers,” the kind of bonus track that can, more often than not, function as little more than filler. In this case, though, the contrast between the song in its infancy and its buoyant, assertive final form is striking and emotional. The hard-won strength of the studio version is there, but it's drenched in a raw, gritty sadness that sounds painfully real. In its studio incarnation, you can hear that Cyrus buys what she’s selling, that she’s not only content to be her own companion but actually prefers her own company. In this demo, though, her words seem to function more as a compass than a proclamation, a hopeful road map out of the woods of heartbreak. For an artist whose musical talent is often overshadowed by her offstage antics, this glimpse into Cyrus’ creative process is a welcome one, and a fitting way to end her most fully realized album yet."
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    {
      "id": "1637009231",
      "name": "The Loneliest Time",
      "link": "https://music.apple.com/us/album/the-loneliest-time/1637009231",
      "artist_name": "Carly Rae Jepsen",
      "release_type": "album",
      "record_label": "Silent Records IGA",
      "copyright": "℗ 2022 School Boy/Interscope Records",
      "upc": "00602448321466",
      "release_date": "2022-10-21",
      "track_count": 16,
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        "short": "“It's an old idea that a pop artist has to be one thing.”",
        "full": "True to its title, Carly Rae Jepsen’s sixth album is an examination of solitude through catchy, chatty pop cuts like the spiky, synthy \"Talking to Yourself\" and the sweetly wary \"So Nice,\" as well as quite a few tracks that feel very of Jepsen's catalog. Take its title track, a thumping yet wistful duet with singer-songwriter Rufus Wainwright that, thanks to its disco strings and Jepsen's spoken-word interlude, squarely falls under the \"sad banger\" category. \"This song is very much about that fantasy of going over to your ex's in the middle of the night and pouring rain to rekindle what was not finished,\" Jepsen tells Apple Music. \"It's just a terrible idea in real life, but it's really fun to sing about.\"\n\nBut the Canadian singer also spreads her wings with the poison-pen online-dating chronicle \"Beach House\" showing off her sardonic side and the California chronicle \"Western Wind\" possessing dream-pop vibes. \"Go Find Yourself or Whatever,\" which Jepsen co-wrote with frequent collaborator Rostam Batmanglij, is the starkest sonic departure—a downcast ode to a restless lover, with a country vibe. \"I definitely have been in love with the traveler before,\" she says. \"Looking back on the song when I perform it live now, there are elements of this song that just speak to me, too, as the traveler: 'You feel safe in sorrow/You feel safe on an open road/Go find yourself or whatever.'\" \n\nJepsen recalls that Batmanglij reminding her of \"Go Find Yourself\" helped her blow open the idea of her sound: \"Rostam sent me an email, being like, 'Remember this?' I listened, and I was like, 'Huh. Am I allowed to do songs like that?' Challenging that question and answering with an absolute 'yeah, there are no rules' is really what this album's about. That rebellion led me to fit songs like 'Beach House' and 'Go Find Yourself or Whatever' on the same album. It's an old idea that a pop artist has to be one thing. We contain multitudes. Why can't this album allow that exploration a little bit?\""
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      "name": "emails i can’t send fwd:",
      "link": "https://music.apple.com/us/album/emails-i-cant-send-fwd/1676555529",
      "artist_name": "Sabrina Carpenter",
      "release_type": "album",
      "record_label": "Island Records",
      "copyright": "℗ 2023 Island Records, a division of UMG Recordings, Inc.",
      "upc": "00602448990525",
      "release_date": "2023-03-17",
      "track_count": 17,
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      "description": {
        "title": null,
        "tagline": "New Deluxe Edition",
        "short": "The pop star adds more bold, no-nonsense tales to her fifth album.",
        "full": null
      },
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    {
      "id": "1572940891",
      "name": "Solar Power",
      "link": "https://music.apple.com/us/album/solar-power/1572940891",
      "artist_name": "Lorde",
      "release_type": "album",
      "record_label": "Universal Music New Zealand Limited",
      "copyright": "℗ 2021 Universal Music New Zealand Limited",
      "upc": "00602438434879",
      "release_date": "2021-08-20",
      "track_count": 13,
      "genres": [
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        "Music"
      ],
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      "description": {
        "title": null,
        "tagline": null,
        "short": "“This album is about the passing of time and being OK with that.”",
        "full": "Lorde’s third album Solar Power was born out of an epiphany. “I was very much raised outdoors by the beach, in the ocean, outside,” the Aotearoa New Zealand pop titan tells Apple Music. “But it wasn't until I got my dog that I understood how precious the natural world is and how many gifts there are for someone like me to receive. I felt like all I was doing was paying attention and being rewarded tenfold with things that would not just lift my mood, but legitimately inspire me.” The death of her dog, Pearl, in 2019, slowed down the production of the album, but what Lorde learned from him—the joy of being outside, even if it’s just at your local park—flows through the finished product.\n\nExpressing all of that in the twisted, spring-tight pop of 2013’s Pure Heroine and its dizzying 2017 follow-up Melodrama was never going to work. So she turned instead to a (somewhat unlikely) palette crafted alongside returning producer Jack Antonoff—shuttling between LA and Aotearoa New Zealand in 2019 and 2020 and finishing it remotely during the pandemic—of ’70s Laurel Canyon and early-2000s pop. “I think, on paper, it doesn’t make any sense,” she says. “But I was like, ‘What’s something that’s captured the experience of being outside or feeling the sun and a certain kind of joy?’”\n\nSolar Power might well be seen as just that: an album to kick back with on a summer’s day. But there is, as Lorde puts it, “deep and shallow” to this record. There are meditations on celebrity culture (“California”) and the wellness industry (“Mood Ring”), alongside sorrow for the destruction of the natural world. This isn’t, however, a climate change album (“It definitely wasn't a goal of mine to make people care; I can't make that happen for you”). If it’s about anything, she says, it’s about “the passing of time and being OK with that. All my work is sort of about that. All these works are just me trying to ask a series of questions. And if that makes people ask their own questions of their world, then I’ve done a good job.” Read on as Ella Yelich-O’Connor guides us through Solar Power, one track at a time.\n\n“The Path”\n“This was the first one I wrote for the album, and I always knew it would open it. I wanted to bring people right up to speed: This is where I'm at. This is the wave. As I get older, I feel the absurd nature of our modern life more every day, and some of the images in this song really play into that. I’ve also been thinking more about people in my position and the worship that comes towards someone like me. I thought about dismantling that and saying, ‘Let's leave that at the door for this one and make it about something else.’ It was really fun, golden and sassy to be like, ‘It's not going to be me. I'm sorry. Let's redirect.’”\n\n“Solar Power”\n“This song was featherlight. It’s just a song about being happy in the sunshine, which is kind of a crazy move for me. But It's a bit dark and weird, with lots of cult and commune imagery. I knew that people would kind of be like, ‘What the fuck is she talking about?’ On the surface it’s light, but it’s got a lot to it.”\n\n“California”\n“California and LA are places I have a huge amount of affection for. I find it really alluring and mystical and kind of dreamy, but it also totally freaks me out. It isn't where I am supposed to be right now, so I've tapped out. I've been listening to a lot of The Mamas & The Papas, so that was a melodic reference. There’s kind of an eeriness to this song, and a lot of people have tried to get at that when capturing LA in movies and in music. I love the line about the kids in the line for ‘the new Supreme.’ It's a classic me thing to say something that is modern, but could sound classic.”\n\n“Stoned at the Nail Salon”\n“This was one of the first few we wrote. I think of it as coming right at the tail end of Melodrama. My life is very low-key and very domestic. It's like the life of a hippie housewife. It really struck me when the Grammys or VMAs were on and I was trying to get a stream on my computer and I couldn't. It felt so outside of that part of my life. I was starting to have these thoughts like, ‘Am I choosing the right path here by hanging up the phone, so to speak? And just hanging out with my dog and making lunch every day?’ The vocals that are on the song are the ones that we recorded the day we wrote it. So it kind of has this loose, organic quality that came to be a big part of Solar Power.”\n\n“Fallen Fruit”\n“I was going to LA to write with Jack and I started this on the plane. There’s always a slightly kind of unhinged or unfiltered quality to songs I write on planes, because I’m at altitude or something. I had been very careful before that point about not being preachy or like, ‘Hi, I’m a pop star and this is my climate change album!’ But I just had this moment where I was like, ‘This is the great loss of our lives and this will be what comes to define all of our lives and our world will be unrecognizable for my children.’ I loved trying to make it sound like this flower child’s lament and making it sound very Laurel Canyon, essentially. At the same time, there’s only one 808 on this record—and it’s in the breakdown of this song. It’s me describing an escape to somewhere safe that takes place in the future when our world has become uninhabitable. I liked snapping into a kind of modern thing for that.”\n\n“Secrets From a Girl (Who's Seen It All)”\n“This is me talking to my younger self trying to impart some of the things that I learned. It was a fun place to write from. To me it’s very Eurythmics meets Robyn. And then we got Robyn to do the incredible spoken part. She’s someone I have learned a huge amount from, through song. She really completed the experience.”\n\n“The Man With the Axe”\n“I wrote this track almost as a poem. I was very hung over and I think that fragile, vulnerable quality made it in here. It’s funny because it’s kind of melancholy, but I also think of it as very cozy. I’m expressing a huge amount of love and affection for someone. To me, it sounds very private—I sort of don’t even like thinking about people listening to it because it's just for me. [US producer] Malay did the coolest chords. I really didn’t change the poem, apart from maybe taking one line out. That was one of the biggest accomplishments of the album.”\n\n“Dominoes”\n“Solar Power is about utopias, and wellness is very much a utopia. It was also a big facet of the kind of ’60s, ’70s, New Age enlightenment, Age of Aquarius—seeking this thing that will give us the answers and make us feel whole. I feel like everyone kind of knows someone like this. It really cracked me up to say, ‘It’s strange to see you smoking marijuana, you used to do the most cocaine of anyone I’ve ever met.’ We all know that guy.”\n\n“Big Star”\n“The title of this song is a nod to Big Star the band, who I absolutely love. When I think about a song like ‘Thirteen’ by Big Star, there’s something so kind of childlike about it, and the song channels a similar thing. But I also loved the image of the people that we love being like celebrities to us. When I see a picture of a loved one, I feel like you get the same chemicals as if I was seeing a celebrity. They’re famous in my heart. But really, this is just a song about my dog. I wrote it when he was a puppy. I was just like, ‘Holy shit, I’ve never loved anything as much in my life.’”\n\n“Leader of a New Regime”\n“I wanted to have a little reprieve and go in that Crosby, Stills & Nash direction a little bit and be like, ‘Where’s it going to go from here?’ Whether it’s culturally, politically, environmentally, socially, spiritually. I felt that desire for doing something new.”\n\n“Mood Ring”\n“It’s full satire, inhabiting a person who’s feeling really lost and disconnected in the modern world and is trying to feel well, however she can. I felt like so many people would be able to relate to that. It was funny and gnarly to write. The melodies and the production were a great blend of that early-2000s sound and then that kind of Age of Aquarius energy. They both very much had to be present on this song.”\n\n“Oceanic Feeling”\n“I knew this would be the last track. I really wanted it to sound like when I get up in the morning at home and go outside and think about what the day’s going to hold. Am I going to go to the beach? Am I going to go fishing? What’s going to happen? I wanted to make something that people from New Zealand would hear and would feel like, ‘Oh, I’m this. That's where I’m from.’ But I was also ruminating on a lot. My little brother had been in a car accident and had had a concussion and was really lost and confused. And I wanted to say to him that it was going to be OK. I was thinking a lot about my parents and this deep connection we have to our land. I was thinking about my children. I really liked the end saying, ‘I’ll know when it’s time to take off my robes and step into the choir.’ It sort of connects that first sentiment of ‘If you're looking for a savior, that’s not me’ and ‘One day, maybe I won’t be doing this. Who knows?’ My music is so singular. I’m pretty much at the center of it. I thought that was a really powerful image to leave with: ‘One day, I too will depart.’”"
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    {
      "id": "1633771855",
      "name": "SUBJECT TO CHANGE",
      "link": "https://music.apple.com/us/album/subject-to-change/1633771855",
      "artist_name": "Kelsea Ballerini",
      "release_type": "album",
      "record_label": "Black River Entertainment",
      "copyright": "℗ 2022 Black River Entertainment",
      "upc": "196925407298",
      "release_date": "2022-09-23",
      "track_count": 15,
      "genres": [
        "Country",
        "Music"
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      "description": {
        "title": null,
        "tagline": "New Album + Interview",
        "short": "“The theme was evolution and growing up, and a lot of contrast within that.”",
        "full": "Like many artists, Kelsea Ballerini took stock of her life during the pandemic, both personally and professionally. Having released her third album, kelsea, in mid-March 2020 and unable to tour in support of the LP, it felt like a natural time to reflect on her career thus far and dream of the next chapter. During this quiet period, her fourth album, SUBJECT TO CHANGE, began taking shape, its title a nod to Ballerini’s newfound acceptance of the impermanence and unpredictability inherent to life. “The theme was change and evolution and growing up, and a lot of contrast within that and juxtaposition within that,” Ballerini tells Apple Music. “And I loved the idea that we’ve all been really challenged by change the last several years, and by change that’s really out of our control, that’s kept us at home and all of that stuff. And so, I loved the idea of that being such a relatable, universal topic.”\n\nSUBJECT TO CHANGE opens with its title track, an uptempo anthem that celebrates being open to growth and possibility. “IF YOU GO DOWN (I’M GOIN’ DOWN TOO)” takes cues from The Chicks’ “Goodbye Earl” and Taylor Swift’s HAIM collaboration “no body, no crime,” with Ballerini promising a friend that she has her back if shit hits the fan: “If it all blows up and we end up on the news/If you go down, I’m goin’ down too.” Another standout is “YOU’RE DRUNK, GO HOME,” a collaboration with Kelly Clarkson and Carly Pearce that makes good use of the trio’s combined talents, with a healthy dose of soul from Clarkson and Pearce putting her alto to good use in telling off a stubborn suitor. Here, Ballerini talks through a few of the album’s key tracks.\n\n“SUBJECT TO CHANGE”\n“I’ve always been really scared of change because it’s been something that has influenced my life in ways that I don’t always love or that I’m not always ready for. And I liked the idea of making a record, and especially starting a record, with a song that says, ‘But what if we take the power away from change?’ And whether it’s bad change or good change, it’s meant to happen for me in my life and where I’m supposed to get to. And when you take the power away from it and the fear of change away from it, and you just open your arms up to it, you start living.”\n\n“IF YOU GO DOWN (I’M GOIN’ DOWN TOO)”\n“One of the things that I’ve really realized in the last few years is how important female friendship is. ‘IF YOU GO DOWN’ is the last song we wrote for the record. And I was sitting around with Shane [McAnally] and Julian [Bunetta], and we had already cut most of the songs, so we called it the Hail Mary day. We’re like, ‘Just in case there’s anything else in the tank.’ I also wanted there to be what ‘hole in the bottle’ brought to my last record. It was this performance element where I got to be silly, and I got to just play a little bit more. So, with ‘IF YOU GO DOWN,’ I was like, ‘I want there to be this witty Thelma & Louise anthem where, when people come to my show with their girl gang, they can scream it with each other, and I can honor my friends, and I can also have a tinge of, ‘Oh, she listens to the Crime Junkie [podcast].’”\n\n“YOU’RE DRUNK, GO HOME” (feat. Kelly Clarkson & Carly Pearce)\n“I loved the idea of having not one but two different voices that have power and wit and sass. And I was looking at my friendships because I love collaborating with friends, and my first call was Carly. Without even hearing it, she said yes because we just go so far back, and we just have so much respect for each other. We’re ‘sweatpants friends’—that’s how I categorize it now. And then, I texted Kelly Clarkson the song, and she did vocals that night. We were just talking about women friendship in the industry. I’m offline friends with these two women, and they both inspire me so much in different ways and also in similar ways. And now I get to have this moment with them, and I just feel so proud to be able to be a part of that.”\n\n“DOIN’ MY BEST”\n“‘DOIN’ MY BEST’ is a celebration of taking ownership of cringe, because I think when you’re just like, ‘These are the things in my life that you’ve seen that are chaotic, and I understand they’re chaotic. Trust me, I’m experiencing it. It’s more chaotic than you’ll ever know, but here it is, and I’m truly just doing my best.’ I think just taking ownership of that and just going, ‘I’m a human, here it is’—there’s something that was so freeing writing that song.”\n\n“MARILYN”\n“‘MARILYN’ is the first song I wrote for this album. I wrote it in the summer of 2020, during the unraveling of all of our lives, of just taking the inventory, stepping back, being in the stillness. And to me, [Marilyn Monroe] is such a metaphor for—I can only speak for myself, but I feel like a very universal thought for us of just going like, ‘Man, we are conditioned, and we get met with a more celebratory response when we present beautifully.’ And there is always so much more going on. To me, she is just that metaphor, and it’s kind of the bigger sister to ‘homecoming queen?’. I wrote the song by myself.”"
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      "name": "Harry's House",
      "link": "https://music.apple.com/us/album/harrys-house/1615584999",
      "artist_name": "Harry Styles",
      "release_type": "album",
      "record_label": "Columbia",
      "copyright": "℗ 2022 Erskine Records Limited, under exclusive license to Columbia Records, a Division of Sony Music Entertainment",
      "upc": "886449990061",
      "release_date": "2022-05-20",
      "track_count": 13,
      "genres": [
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        "short": "Experience what Harry calls “a day in my mind” in Spatial Audio.",
        "full": "Harry Styles’ third solo album, Harry’s House, is the product of a chain reaction. Had the pandemic not thrown his world into a tailspin in early 2020, he would’ve continued to tour behind Fine Line, his critically adored sophomore album, and played its songs hundreds of times for sold-out crowds around the world. A return to the studio was planned, of course, but when COVID-19 canceled those plans too, Styles faced an empty calendar for the first time in a decade. The singer opted to use this free time carefully, taking a solo road trip through Italy and visiting with family and friends for rare long, drawn-out stretches. It was an important moment of reevaluation. “You miss so many birthdays,” he told Apple Music’s Zane Lowe. “And eventually it's just assumed you're unable to be at stuff. Finally I was like, ‘I want to balance my life out a bit. Working isn’t who I am, it's something I do. I want to be able to put that down.’”\n\nHis upbeat, lightly electronic third LP riffs on the concept of home, viewing it less as a geographical location and more as a state of mind—his mind. “Imagine it’s a day in my house, a day in my mind,” he said. “What do I go through? I’m playing fun music. I’m playing sad music. I have doubts. I’m feeling stuff.” Because of the pandemic, Styles recorded the songs with a small handful of longtime friends and close collaborators who gathered in a single room to drink wine, write, and play. That intimacy is reflected in the songs, which are conversational and casually confessional, as if he’s thinking out loud. Blending vintage folk rock with flickers of disco and a generally more relaxed sensibility, they illustrate a turning point in Styles’ career as he transitions even further towards career singer-songwriter. “For a while it was, how do I play that game of remaining exciting?” he says. “But I finally had a moment where I felt like, ‘Okay, I’m not the young thing, so I would like to really think about who I want to be as a musician.’” Read on for the inside story behind a handful of standout selections from Harry’s House.\n\n“Music for a Sushi Restaurant”\n“After Fine Line, I had an idea of how I thought the next album would open. But there's something about ‘Sushi’ that felt like, ‘Nah, that's how I want to start.’ It becomes really obvious what the first song should be based on what you play for people when they’re like, ‘Oh, can I hear a bit of the music?’ It's like, how do you want to set the tone?” \n\n“Daylight”\n“We were like, ‘We have to find a way to stay awake and finish this, because if we all go to bed, then this won’t turn out the way it would if we finished tonight.’ So we powered through, finished it, and went down to the beach as the sun was coming up and it was like, ‘Okay. Yeah.’ It felt correct that we'd finished it in that place. Life, and songs in particular, are so much about moments. In surfing, for example, sometimes you don't get the wave and sometimes the wave comes and you haven't practiced. But every now and again, the wave comes and you’re ready, you've practiced enough that you can ride it. Sometimes when the songs write themselves like that, it feels like, ‘Okay, there's a reason why sometimes I sit out there, falling off the board a bunch. It's for this moment.”\n\n“As It Was”\n“‘As It Was,’ to me, is bittersweet. It’s devastating. It's a death march. It’s about metamorphosis and a perspective change, which are not necessarily things you have time with. People aren’t like, ‘Oh, we'll give you a couple more days with this moment and let you say goodbye to your former self,’ or whatever. No. Everyone is changing, and by the time you realize what’s happened, [the moment] is already gone. During the pandemic, I think we all at some point realized that it would never be the same as it was before. It was so obvious that it wouldn’t. You can't go backwards—we can’t as a society and I can’t in my personal life. But you learn so much in those moments because you’re forced to face things head-on, whether they’re your least favorite things about the world or your least favorite things about yourself, or all of it.” \n\n“Matilda”\n“I had an experience with someone where, in getting to know them better, they revealed some stuff to me that was very much like, ‘Oh, that's not normal, like I think you should maybe get some help or something.’ This song was inspired by that experience and person, who I kind of disguised as Matilda from the Roald Dahl book. I played it to a couple of friends and all of them cried. So I was like, ‘Okay, I think this is something to pay attention to.’ It's a weird one, because with something like this, it's like, ‘I want to give you something, I want to support you in some way, but it's not necessarily my place to make it about me because it's not my experience.’ Sometimes it's just about listening. I hope that's what I did here. If nothing else, it just says, ‘I was listening to you.’”\n\n“Boyfriends”\n“‘Boyfriends’ was written right at the end of Fine Line. I'd finished the album and there was an extra week where I wrote ‘Adore You,’ ‘Lights Up,’ and ‘Treat People With Kindness.’ At the end of the session for ‘Lights Up,’ we started writing ‘Boyfriends,’ and it felt like, ‘Okay, there's a version of this story where we get this song ready for this album.’ But something about it just felt like, no, it’ll have its time, let's not rush it. We did so many versions of it. Vocal. Acoustic. Electric guitar. Harmonies on everything, and then we took them out for chunks and put them back in for chunks. You try not to get ahead of yourself when you write a song, but there was something about this one where I felt like, ‘Okay, when I'm 50, if I'm playing a show, maybe there's someone who heard me for the first time when they were 15 and this is probably the song they came to see.’ Because I'm learning so much by singing it. It’s my way of saying, ‘I’m hearing you.’ It’s both acknowledging my own behavior and looking at behavior I've witnessed. I grew up with a sister, so I watched her date people, and I watched friends date people, and people don't treat each other very nicely sometimes.” \n\n“Cinema”\n“I think I just wanted to make something that felt really fun, honestly. I was on a treadmill going, ‘Do-do-do-do-do-do.’ I tend to do so much writing in the studio, but with this one, I did a little bit here and then I went home and added a little bit there, and then kind of left it, and then went into the studio to put it all together. That was a theme across the whole album, actually: We used to book a studio and be like, ‘Okay, we've got it for two months, grind it out.’ But some days you just don't want to be there, and eventually you've been in the studio so long, the only thing you can write about is nothing because you haven't done anything. So with this album, we’d work for a couple of weeks and then everyone would go off and live their lives.” \n\n“Love of My Life”\n“‘Love of My Life’ was the most terrifying song because it's so bare. It's so sparse. It’s also very much in the spirit of what Harry's House is about: I wanted to make an acoustic EP, all in my house, and make it really intimate. It’s named after [the Japanese pop pioneer Haruomi] Hosono, who had an album in the '70s called Hosono House. I immediately started thinking about what Harry’s House might look like. It took time for me to realize that the house wasn't a geographical location, it was an internal thing. When I applied that concept to the songs we were making here, everything took on new meaning. Imagine it's a day in my house or a day in my mind. What do I go through? I'm playing fun music. I'm playing sad music. I'm playing this, I'm playing that. I have doubts. I’m feeling stuff. And it’s all mine. This is my favorite album at the moment. I love it so much. And because of the circumstances, it was made very intimately; everything was played by a small number of people and made in a room. To me, it's everything. It's everything I've wanted to make.”"
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    {
      "id": "1702784511",
      "name": "chemistry (Deluxe)",
      "link": "https://music.apple.com/us/album/chemistry-deluxe/1702784511",
      "artist_name": "Kelly Clarkson",
      "release_type": "album",
      "record_label": "Atlantic Records",
      "copyright": "℗ 2023 Kelly Clarkson under exclusive license to Atlantic Recording Corporation",
      "upc": "075679673473",
      "release_date": "2023-06-23",
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        "tagline": "New Deluxe Edition",
        "short": "The enduring Idol tops up her emotive 10th album with eight new cuts.",
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    {
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      "name": "HOLY FVCK",
      "link": "https://music.apple.com/us/album/holy-fvck/1628440994",
      "artist_name": "Demi Lovato",
      "release_type": "album",
      "record_label": "Demi Lovato LP4/Island",
      "copyright": "℗ 2022 Island Records, a division of UMG Recordings, Inc.",
      "upc": "00602448094704",
      "release_date": "2022-08-19",
      "track_count": 16,
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        "tagline": "New Album in Spatial Audio",
        "short": "Hear the LP in Spatial Audio and read a track-by-track guide written by Demi.",
        "full": "On Demi Lovato’s eighth studio album, catharsis comes from recovery, from exorcising demons and excising trauma—and there’s no better avenue for that then a sick guitar lick. HOLY FVCK is stacked with ascendent pop-punk (“SUBSTANCE”), grunge-y anthemic rock (“SKIN OF MY TEETH”), biblical references (“HEAVEN”), and diaristic revelations about inappropriate sexual relationships (“29”). “My biggest hope for [the] song [‘29’] is that others going through a similar experience know they aren’t alone,” they tell Apple Music. “And that it’s time to take our power back.” The sentiment doubles as a mission statement: This is the sound of a young artist claiming autonomy.\n\nAt the beginning of their career, Lovato made playful pop-punk under Disney’s Hollywood Records label, starting with 2008’s debut, Don’t Forget. Echoes of that can be found on this release, but comparatively, it’s child’s play: Lovato has never sounded harder, or wiser, than they do on HOLY FVCK, so turn it up loud. Below, read a track-by-track guide to the album Lovato wrote exclusively for Apple Music.\n\n“FREAK”\n“This song is about feeling like you don’t belong but owning it anyway, because it doesn’t matter what others think about you. By acknowledging that you are a freak or outcast, you are basically saying that there is nothing anyone can say that will hurt your feelings. I wrote this song with YUNGBLUD while I was in an angry phase, but it turns out that I am proud of it. I am giving myself the power back.”\n\n“SKIN OF MY TEETH”\n“I wanted to make an anthem for people in recovery from addiction. I wanted to humanize the disease for people who’ve never experienced it and don’t understand it. That’s partly why I get so detailed about it in the bridge, which is my favorite part of the song: [I sing] ‘I am just trying to keep my head above water/I am your son, and I am your daughter/I’m your mother, I’m your father.’ It is making a statement about how I am just like everyone who suffers from addiction. We’re all the same. It was so cathartic for me because I had just come out of treatment again. I wanted to make a statement of saying, ‘I see what you’re saying, this is what I’m going through, and you’re not going to make me feel bad about it.’”\n\n“SUBSTANCE”\n“I wanted to make a point about how we live in a world where nothing feels real anymore. The content we intake, the things we do in our day-to-day lives, so much of it lacks substance. We’re always on our phones and the internet, so I wanted to write a song about how I miss the substance that used to be the world we live in. Some of the lyrics that resonate with me would be in the pre-chorus: ‘Whoa, I know we’re all fucking exhausted.’ We’re all still coming out of COVID, which is a time where we all live off of TV, social media, whatever could distract us on our phones. I know we’re all exhausted with it. And ‘Am I in my head or have we all lost it?’ is asking if we have lost the substance in human-to-human connection and the ability to be fully present in the moment. The writing process for this was so effortless, and my co-writers were so amazing.”\n\n“EAT ME”\n“Being able to collaborate with Royal & the Serpent on this song was so amazing and exciting. I am sick of people thinking or talking about me in a certain way that isn’t truthful, and I am done letting it affect me and my life. Coming out as non-binary was a way for me to let people know that I am not the person that everyone wants me to be, but rather, the person I am. My hope is that this song will help others feel more comfortable with their identity, and to not feel ashamed of how others may perceive them.”\n\n“HOLY FVCK”\n“This is the title track of the album, and the whole album has this feel of good versus evil, with some religious undertones. Even the title fits that theme, with holy being good and fuck being bad. It’s a very sexually charged song, and I wanted to flip the phrase on its head to ‘I’m a holy fuck.’ In the studio, I was very much like, ‘Oh my god, I can’t believe I’m singing this!’”\n\n“29”\n“Now that I am older, I have had a lot of time to reflect and think about past experiences I have had in my life, whether that be romantically or not. Writing this song allowed me to express my thoughts in a way that I hadn’t before, and turn it into something special. Everyone that wrote this song with me knew that the goal was to help others, and I think we did an excellent job of that.”\n\n“HAPPY ENDING”\n“I fell into a hopeless depression that had me asking myself if I will ever find a happy ending before I die. The most honest lyric I’ve ever written is actually in this song: ‘I got high/You name it, have tried it/Sure, I’m sober now and everybody’s proud, but I miss my vices.’ My hope for this song is that people will listen to it and realize that they are not alone. Writing this song was obviously very emotional, but it was very freeing because I was able to express these dark times and concerns I’ve had—and coming out of it in the end in a new light.”\n\n“HEAVEN”\n“There’s actually a Bible verse, Matthew 5:30, that says, ‘If your right hand causes you to sin, cut it off, because it’s better to lose one part of your body than your entire body to hell.’ It’s actually about masturbation, and people may not know that I have my own sex toy. I’m very open about my sexuality, and growing up I was shamed by my church in Texas for exploring that. I was in a place where I was angry, and I had just learned a lot about myself. I learned about what caused that anger and I learned to honor my anger in treatment. I wanted to write a song that takes back my power and my sexuality from the way religion was used against me. I love the pre-chorus where it repeats, ‘Cut it off!’ because unless you know the Bible verse behind the song, you’re like, ‘What?’ And then, of course, the chorus—‘Going to hell because it feels like heaven.’ An Easter egg you can look out for on the vinyl packaging is I have ‘Matthew 5:30’ printed on the side, which is a nod to this song.”\n\n“CITY OF ANGELS”\n“The first line of this song says it all. I’ve lived in [Los Angeles] for 15 years and it seems as though everything is old and boring. I wrote this song about wanting to experience new things in the city of LA, as if it was brand new. This is definitely a sexual song, but it’s written through using a ton of puns. A great example of this is ‘Splash Mountain from your hands at Disneyland.’ I’d love to christen this city as if it was brand new.”\n\n“BONES”\n“I had such a good time writing this song because I was at my house, with my friends, just having a good time. This song is about being so attracted to someone the first time you see them that you physically want to jump on them. My favorite line from this song is ‘Blood racing, heart pounding, like there’s a fucking earthquake’ because it really depicts the feeling of craving someone so badly, but you have to resist.”\n\n“WASTED”\n“It’s not a secret that I’ve struggled with addiction and drugs, so I wanted to write a song that’s about how there’s no high greater than the high of falling in love. The best high of your life is the high you get from someone else. Specific lyrics that are so real to me are ‘Will my heart stop, will I withdraw?/Can I detox if the shoe drops?/I’m wiser, I’m older, I’m clean and I’m sober, so I can’t figure out how I’m wasted.’ I remember the first time I tried certain drugs, and I was like, ‘Whoa, what is this going to be like?’ That’s kind of like falling in love with someone you know will change your life. You’re totally wasted on love—you feel totally euphoric and so happy.”\n\n“COME TOGETHER”\n“If you listen closely to the lyrics of this song, you will realize this is actually not a song just about unifying and joining together as one. Much like many other songs on this album, this is a very sexually focused track. My favorite line has to be ‘Got me closer to the edge than ever/We both want it, but we don’t surrender/And we can make this last forever/But paradise is even better when we come…together.’ The hook of this song flows very well together, and I think it is open-ended in the way that you can perceive it however you want to.”\n\n“DEAD FRIENDS”\n“This song is a way for me to reminisce on the hard times that I’ve been through in my life and how I’ve lost friends along the way. The beginning of the song is very calm and slow, but as the song progresses you will notice that it picks up the tempo and the mood. I think this is a way to represent how although it’s a sad message, I am actually honoring my friends and the times we had together. I lost a friend that went through similar struggles that I’ve had on the same day that I wrote this song, which gives it even more of a special meaning to me.”\n\n“HELP ME”\n“This was a song I wrote with Dead Sara on the very first day we worked together. I wanted to write a song that was a clapback to people on the internet who think they know what’s best for me, and make an empowering anthem out of that. I think my favorite lines are ‘Hey, thank you for your useless information/Hey, never satisfied with my explanation/Hey, what’s with your desperate fascination?/Hey, thank you for your useless information.’ I was so excited to write this with Dead Sara because they were such a huge influence for the sound of this album. I fell in love with the album they released last year, and I saw them live. They’ve become great friends of mine, especially Emily [Armstrong], the lead singer. Getting to see them work their magic at the show was the catalyst for me getting back to my rock roots.”\n\n“FEED”\n“The message of this song is that there are two sides inside of you, which represent the good and the bad, the positive and the negative. This song is a reminder that you are in control of your life and each side will make you feel a different way, so it’s up to you to choose which direction you want to go.”\n\n“4 EVER 4 ME”\n“The songs at the beginning of the album show how angry and sad I once was, but as you get towards the end, you realize that I’ve been through a rollercoaster of a life and there is joy at the end. I got to write this song with one of my best friends, which makes it even more special. One of my favorite lines of this song is ‘I can’t wait to hug and thank your mother,’ because I think it’s important to acknowledge those who raised and taught the person you love how to be an amazing person. I don’t write a ton of love songs, but I think that this song really encompasses the hopefulness of love and how sappy I can actually be.”"
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      "name": "Did you know that there's a tunnel under Ocean Blvd",
      "link": "https://music.apple.com/us/album/did-you-know-that-theres-a-tunnel-under-ocean-blvd/1655349115",
      "artist_name": "Lana Del Rey",
      "release_type": "album",
      "record_label": "Polydor Records",
      "copyright": "A Polydor Records Release / An Interscope Records Release in the USA; ℗ 2023 Lana Del Rey, under exclusive licence to Universal Music Operations Limited",
      "upc": "00602448971814",
      "release_date": "2023-03-24",
      "track_count": 16,
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        "tagline": "New Album in Spatial Audio",
        "short": "On her intimate ninth LP—in Spatial Audio—Lana peels back a few layers.",
        "full": "Lana Del Rey has mastered the art of carefully constructed, high-concept alt-pop records that bask in—and steadily amplify—her own mythology; with each album we become more enamored by, and yet less sure of, who she is. This is, of course, part of her magic and the source of much of her artistic power. Her records bid you to worry less about parsing fact from fiction and, instead, free-fall into her theatrical aesthetic—a mix of gloomy Americana, Laurel Canyon nostalgia, and Hollywood noir that was once dismissed as calculation and is now revered as performance art. \n\nUp until now, these slippery, surrealist albums have made it difficult to separate artist from art. But on her introspective ninth album, something seems to shift: She appears to let us in a little. She appears to let down her guard. The opening track is called “The Grants”—a nod to her actual family name. Through unusually revealing, stream-of-conscious songs that feel like the most poetic voice notes you’ve ever heard, she chastises her siblings, wonders about marriage, and imagines what might come with motherhood and midlife. “Do you want children?/Do you wanna marry me?” she sings on “Sweet.” “Do you wanna run marathons in Long Beach by the sea?” \n\nThis is relatively new lyrical territory for Del Rey, who has generally tended to steer around personal details, and the songs themselves feel looser and more off-the-cuff (they were mostly produced with longtime collaborator Jack Antonoff). It could be that Lana has finally decided to start peeling back a few layers, but for an artist whose entire catalog is rooted in clever imagery, it’s best to leave room for imagination. The only clue might be in the album’s single piece of promo, a now-infamous billboard in Tulsa, Oklahoma, her ex-boyfriend’s hometown. She settled the point fairly quickly on Instagram. “It’s personal,” she wrote."
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